Lillian Schwartz Collection

 

The Lillian Feldman Schwartz Collection
A Guide and Inventory
Spec.rare.cms.226

Guides Compiled by Mannen Asefa, Nicole Filoso, Eric Hines, Stacy Hunt, Lisa Iacobellis,
Leusa Jones, Benjamin Lammers, Sophia McGuire & Lindsay Pealer, from 2006-

INTRODUCTION

Lillian Schwartz is widely recognized as one of the most significant figures in the development of what we now routinely refer to as computer art. In the 1960s, when Schwartz first began to explore this new medium for artistic expression, the common public perception was that such works were randomly created by the computers themselves, much like the abstract paintings spewed out by quirky machines in Jean Tinguely’s 1960 Homage to New York. From the beginning, however, Schwartz made it clear in her work that the creative genius of the artist was in command of her technological toolbox. The computer was just another implement to be mastered, just as she had earlier learned the disciplined control required in using traditional Japanese calligraphy brushes. Schwartz shared this confident, experimental approach to the new medium in her immensely practical survey of the field, The Computer Artist's Handbook (co-authored with Laurens Schwartz). Even before becoming a member of the group, “Experiments in Art and Technology” (EAT) Schwartz had long demonstrated a keen interest in the combination of art with technology and science. However, although fascinated with the technological aspects of the computer as a new approach to creating art, Schwartz was most concerned with the finished product — the permanent work of art. In the early computer works therefore, one will find the somewhat limited results of the computer program enhanced with beautiful colors in more traditional materials, such as silkscreen and film. In time, the technology advanced to the degree that her digital works created with the computer could be viewed in their finished state on a high quality monitor and printed out with the intensity and nuances of color desired. She continues to experiment and to push the medium to achieve the results for which she is striving.

Lillian Schwartz was born on July 13, 1927, in Cincinnati, Ohio. Although interested in art at an early age she first chose to pursue a more practical career, entering The College of Nursing & Health, University of Cincinnati, as part of the United States Cadet Nurse Program. As she describes her experience, her favorite part of that time spent training as a nurse was using her artistic talent to cheer the patients. Relocating to Japan during the postwar occupation, Schwartz fell ill herself and turned to a form of art therapy for her own recovery from the resulting paralysis. In her book, Schwartz describes the painstaking process of learning to use the Japanese calligraphy brushes under the instruction of a Zen master, Tshiro. She carried this methodical approach to learning a new medium and technique to her work with a variety of materials, tempering her enthusiastic experimentation with a careful scientific analysis. Schwartz experimented with the traditional media, such as oils and watercolors, in her pre-computer years, combining them with new materials like plastic. She was inspired by earlier artists like Van Gogh and Matisse, but also found herself caught up in the current interests of the time, and one sees aspects of Op Art in some of the works of the 1960s. She worked not only in the two-dimensional media, but also enjoyed sculpture and photography. It was in sculpture, in fact, where she found the most flexibility for employing new materials and new technology. Her kinetic sculpture, Proxima Centauri, was one of nine works selected from around the world by The Museum of Modern Art for the pivotal exhibit, “The machine: as seen at the end of the mechanical age.” It was through the contacts made at this exhibit that Schwartz was introduced to a wider sphere of scientists and engineers working with computers, and she later became a consultant at Bell Laboratories. Schwartz describes how she gave up a total immersion in the contemporary art scene in order to expose herself to the more research oriented environment at Bell Labs. She thrived in this collaborative situation where artist and scientist challenged and learned from each other. Schwartz began to use the computer soon after her arrival and developed a vocabulary of forms and textures for artistic expression with the assistance of the programmers. Her colleagues note that she was always challenging the equipment, as well as the programmers, to offer more possibilities. While working at Bell Labs, she taught herself the craft of film-making and in creating her films, she collaborated with innovators in the field of electronic music, such as Max Mathews, Jean-Claude Risset, Emanuel Ghent, Pierre Boulez, and Vladimir Ussachesvsky. At the same time she experimented with available programs as a means to perform artistic analysis. The best known example of this work is her identification of the Mona Lisa as Leonardo’s self-portrait. Schwartz retired from Bell Labs in 2002, but she has continued to create innovative works, using the more modest computer equipment in her home studio.

An exhibit of selected works from the collection was held at the Faculty Club in November and December 2007. A portion of the text for the accompaying brochure was used in this introduction. For an overview of the exhibit please see a PDF file of that brochure. We were fortunate to have Ms. Schwartz attend the opening reception. A videotape of that event, as well as a taped conversation between Lillian Schwartz and OSU's Charles Csuri, may be viewed by researchers interested in the field of early computer art. Contact The Rare Books and Manuscripts Library at rarebooks@osu.edu for more information.

Lisa D. Iacobellis
January 2008

Overview of the Collection:

Repository: Rare Books and Manuscripts Library
Identification: SPEC.RARE.CMS.226
Creator: Lillian Feldman Schwartz
Title: The Lillian Feldman Schwartz Collection
Dates: 1950s - present
Quantity: Inventory in process
Description: The collection contains correspondence, journals, catalogs, awards, financial records, scripts, publicity materials, clippings, books and articles by or about her, stills, film and video masters, outtakes, and notes on computer-generated films. Correspondents include Nobel Prize winners, famous scientists, musicians, artists, and curators and others still unknown to the general public but who also had a tremendous impact on culture and technology. The collection also includes drawings, computer graphics, and sculptures, as well as sketchbooks, artworks, and drawings going back to when she was a child.

 

 

Due to the nature of this collection the inventory is organized by medium, rather than numerically by box and file number. This finding aid is far from complete. Our goal is to create a general inventory for the aid of the researcher, and provide more detail as time allows. Please check back often, as we are adding information frequently.


Books:

The personal library of Lillian Schwartz is included in the archive. Please search "Lillian Feldman Schwartz Collection" by title in the local database, OSCAR, in order to see a list of those books and articles that have been individually cataloged.


Publications by and about Lillian Schwartz:

We are in the process of developing a bibliography of titles authored by Lillian Schwartz, as well as those by others which discuss her work. In addition, the researcher may find many reviews of her work listed in the contents notes associated with various projects.

Partial list of books and articles at OSU

Documentation on Specific Projects:

Barcarola by Pablo Neruda
Carthage Project
MoMA Project
Proxima Centauri
Shakespeare/Elizabeth I analysis


Computer Art in Digital Form:

Most of Schwartz's digital creations have been printed out and are listed with the 2-D works below.  A list of those only available in digital format is in process.  Please contact the curator if you would like to see them.


Films:

List of films from the earlier Lillian Schwartz web site
See a selection of experimental and commissioned films and videos on current Lillian Schwartz web site
List of films and other material on tape at OSU


Sculptures:

Inventory in process.

Two-dimensional Works - Mounted or Framed:

Inventory in process.


Two-dimensional Works - Not Framed:


Selected links:

Computer Art in the Victoria and Albert Museum by Honor Beddard
Interview with Lillian Schwartz by Martijn van Boven
Lillian Schwartz web site
Opening reception of the 2007 exhibit on the OSU campus (includes comments by Wayne Carlson and excerpts from Van Boven's interview)

Some of the recent screenings of her films (watch for updates):

  • Pixillation - 13 May 2012 - 9 September 2012, Darmstadt, Germany - included in exhibition "A House Full of Music: Strategies in Music and Art"
  • UFOs - 31 March 2012 - Ann Arbor Film Festival
  • UFOs and Galaxies - 22 February 2012, Counterpath, Denver
  • Pixillation - 8 February - 8 April 2012, Bonniers Konsthall, Stockholm, included in exhibition "A Trip to the Moon: Before and After Film"
  • A selection of films - 16 November 2011, Cinema Project, Portland, OR
  • Pixillation and UFOs - 2 November 2011, Churner & Churner, New York
  • Apotheosis, Alae and Olympiad - November 1, 2011, Proteus Gowanus, Brooklyn
  • A selection of films - 29 October 2011, Jihlava International Documentary Film Festival
  • Artist & The Computer and Pixillation - October 14, 2011, Flaherty on the Road, at Hallwalls Contemporary Arts Center in Buffalo, NY
  • Galaxies, UFOs - 26 & 27 August, 2011, Cineteca Nacional in Mexico City
  • Pixillation - 14 August 14, 2011, Cinefamily, Los Angeles
  • Morphing of the Telephone, Enigma, Metamorphosis, Mutations, Pixillation, Artist and the Computer - June 2011, Flaherty Seminar
  • UFOs, Enigma, Pixillation, Apotheosis - 24 March 2011, Flatpack Festival, Birmingham, UK
  • Googolplex - 29 May 2010, "Fragments of Machines," IMO Copenhagen
  • Pixillation - June 2010, Site Santa Fe, 8th annual Biennial
  • Pixillation - 25-29 November 2009, Canadian Centre for Architecture, Montreal
  • Enigma, UFOs - 23 November, 2009, Art Cinema OFFoff, Gent
  • Pixillation - 11 September 2009, Latente Bilder. Erzählformen des Gebrauchsfilms (Latent Images. Narrative forms of applied films), Zurich
  • A Beautiful Virus Inside the Machine, The Artist and the Computer, La Spiritata - July 2009, Curtas Vila do Conde International Film Festiva
  • Olympiad - 16 June - 3 July 2009, bitforms gallery, New York City
  • A selection of films - 24 April - May 10 2009, Boston CyberArts Festival, Boston
  • Googolplex - Fragments of Machines, 13 February through 20 March 2010, IMO, Copenhagen
  • La Spiritata - 21 April 2009, Concert, Seoul Philharmonic Orchestra, in Seoul
  • Pixillation - November 2008, The Ctr. For Contemporary Art, Tel Aviv
  • Googolplex - 31 July 2008, Winnipeg Film Group, Cinematheque
  • A Beautiful Virus Inside the Machine (curate d collection of 10 films) - Past-Potential-Futures: Early Experiments in Computer Animation, 25 May 2008, Tate Modern
  • Apotheosis, Pixillation - 6 February 2008, Block Cinema, Northwestern University
  • Pixillation - Genesis - The Art of Creation, January through April 2008, Zentrum Paul Klee, Berne, Switzerland
  • A selection of films - Lillian Schwartz: Selected Works, 13 November 2007, Wexner Center for the Arts, OSU
  • Pixillation - Genesis – Life at the End of Information Age, 14 April through 12 August 2007, Centraal Museum, Utrecht
  • Googolplex - 3-4 March 2007, Tate Modern
  • A selection of films - Lillian Schwartz and Nate Boyce at Monkey Town, 10 July 2006
  • Pixillation, Olympiad, UFOs - 6-8 July 2006, Visual Effects Society annual festival
  • Pixillation - 26 June 2006, Ocularis
  • Enigma - 04 May 2006, Gene Siskel Film Center, Art Institute of Chicago
  • Googolplex - 02 February 2006, National Film Theatre, London
  • Mutations and Newtonian II - Cybersounds Concert, 3 November 2005, Temple University